tenfifteen maple

Follow the activities/musings and creations of the artists of tenfifteen maple here:

the artists:

rebecca bayer
justine a. chambers
josh hite
billy marchenski
kristen roos

Our projects will collaborate with the Hadden park community on works investigating psychogeographical relationships between local histories and forms of mapping. Through sound, collective recordings, temporary installations, performances, screenings, workshops, conversations and dinners, the projects will be informed by people and their activities within the park.

field house residency

for the next 2 and a bit years josh hite (visual artist), billy marchenski (theatre/movement artist), rebecca bayer (architect/visual artist), kristen roos (sound artist) and i will be in residence at the hadden park field house.

here’s what the vancouver sun extrapolated from a conversation with josh hite:


the talking, thinking, dancing body

The Talking, Thinking, Dancing Body is a conversation about aesthetics, context and artistic processes. Grounded in the experience of observing dance in both performance and rehearsal, this conversation will be amplified and facilitated by battery opera’s Artistic Director Lee Su-Feh and Vancouver-based dancer, teacher, choreographer Justine Chambers – two opinionated and charismatic artists with a rich and varied dance experience to draw from.

For the logistics go to:


Dance All Sorts: May 13, 2012

Sunday May 13 @ 2:00 p.m.
Justine A. Chambers + Arts Umbrella
Roundhouse Community Arts and Rec Centre
Pay-what-you-can (children 12 and under + moms are FREE*)
Reserve tickets at EventBrite.com

Justine A. Chambers is a Vancouver-based contemporary dance artist. Her piece for Dance Allsorts, A Study for Enters and Exits, is an iteration of a larger in-progress work, Enters and Exits.
Established in 1985, Arts Umbrella Dance Company is a Vancouver-based repertory company for select members of the school’s professional dance program. They will perform four short pieces.
And remember! In honour of Mother’s Day, Mom’s will get in free! Bring your mom to the Sunday May 13th Dance Allsorts performance and she gets in FREE! Because you don’t have to spend a dime to show her that you care.

art, artists and art places

marilous lemmens and richard ibghyhttp://www.ibghylemmens.com/index.html

mikko hynninen – http://www.mikkohynninen.net/

14 lieux http://www.14lieux.com/

miguel gutierrez and the powerful people http://www.miguelgutierrez.org/

olafur eliasson – http://www.olafureliasson.net/

andrea zittel – http://www.zittel.org/

circuit est – http://www.circuit-est.qc.ca/fr

studio 303http://www.studio303.ca/%20-/

oliver larichttp://oliverlaric.com/

contemporary dance video databasehttp://contemporarydance-db.blogspot.com/search/label/hans%20van%20manen

propeller centre for the arts – http://www.propellerctr.com/

danscentrumjette http://www.danscentrumjette.be/

mono clothing/heather martin http://monoclothing.ca/

out innerspace dance theatrehttp://www.outinnerspace.ca/

Susan Rethorst

Susan Rethorst

New York, New York

Born 1951, Washington, D.C.

In the last few years I have come across the following words that I find useful in attempting to articulate what I do –

quiddity – the essence of a person or thing; what makes a thing what it is…what makes a movement what it is

qualia – the ineffable in experience, that for which there is no substitution, for which description will always fall short, that which can only be known through experience, (i.e. the smell of thyme, that twirly arm thingey movement done by that person in that place at that moment in the dance)

inwit – from old english; in from interior, wit from knowledge

I believe dance acts on us. I am interested in working with how and why it acts on us; its effect/affect.

The ways I work are immediate and intuitive, collaborating with circumstances, trusting my ideas and self to manifest through the choices I make.

I ask myself in the studio what is this movement doing? How is it acting on me? Where does it take me, leave me? What does it dictate about what else there should be? What is it, its nature? What does it bring to my conscious self and how? How is it that it lays bare who I am, what I think, what I know?

In my work, I rely on these ineffable dimensions of movement; the extraordinary phenomenon that we study every day as we decide who to talk to, where to sit on the bus and what we think; we read every situation through movement. To make performance out of this aspect of our nature, this phenomena, is what fascinates me.